After Durancamps settled in Paris, his painting veered increasingly towards tradition. In contrast with the avant-garde movements that were emerging around him, the artist championed conventional painting techniques, meticulously preparing his own canvases and paints, though always from a personal and contemporary gaze. It was at that time when he left behind the luxuriant palette of his master Joaquim Mir (1873-1940), opting instead for earthier and more realistic tones.

In this still-life painting, the light, projected from right to left, bathes the composition of fruit on a shelf. Here Durancamps returns to the subject matter and careful composition of the Spanish Golden Age. It could be argued that here Durancamps was paying his own personal tribute to still-life painters like Juan Sánchez Cotán (1560-1627), who marked a before-and-after in the genre. However, his gaze is that of a twentieth-century artist, thus defending the timelessness of painting and its traditional themes.